In music, a breakdown is part of a song in which various instruments have solo parts (breaks). This may take the form where all instruments play the verse together, and then several or all instruments individually repeat the verse as solo parts.

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Disco DJ, mixer and remixer Tom Moulton invented the "disco break" or breakdown section in the early 1970s. Moulton had been remixing a dance record (”Dreamworld” by Don Downing) which "immaculated" (went to a higher key) towards the end, and he wanted to cut parts together that were in different keys. To do this, he separated two sections with non-tonal information,[1] he edited in a section of drums, and the aesthetic effect was pleasing to dancers at the club. The placement was also useful for club DJ's, providing a rhythm-only section of the recording over which to begin mixing in the next record.

Moulton says his innovation was an accident,[1] the placement followed the pattern of a traditional pop recording: it replaced the bridge typically found in such a record after the second chorus. An example is the breakdown in "My Lovin' (Never Gonna' Get It)" by En Vogue: a sampled male voice can be heard introducing this part of the record with the sentence "and now it's time for a breakdown". Longer tracks often have two, three or more breakdowns.

Initially the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record as described above. Hi-NRG records would typically use a pronounced percussive element, such as a drum fill, to cover the transition, and later genres reach the breakdown section by a gradual reduction of elements.

In all genres, the stripping away of other instruments and vocals ("breaking-down" the arrangement) helps create intense contrast, with breakdowns usually preceding or following heightened musical climaxes; in many dance records, the breakdown often consists of a stripping away of the pitched elements (most instruments) — and often the percussion — while adding an unpitched noisesound effect. This is often treated with a lot of reverb and rises in tone to create an exciting climax, this noise then cuts to a beat of silence, creating tension on the dance floor before the return to the musical part of the record.

Breakdowns are sometimes found in metal and punk songs, as they can be used to eschew traditional verse-chorus-verse songwriting. When played live, breakdowns are usually responded to by the audience with high-intensity moshing (slam dancing).

The drums are usually simple, with a four quarter-note ride pattern with the snare on the third beat. Most commonly, the drummer plays quarter notes on the crash cymbal or china cymbal; in some breakdowns where a very slow tempo is used, the drummer will play half notes, to give the music a very heavy, slow feel. The guitarist usually follows the rhythm, or "chugs", (chugs being palm muted strokes on the lowest three to four string of the guitar) on the kick drum; in most cases the drummer will use the kick drum to complement the "chugs" of the guitars.

The guitars play a set of rhythmically oriented riffs, usually on lightly palm muted strings to achieve a very high attack noise that decays slowly making the overall sound more thick and "heavy". Sometimes, these are contrasted with either dissonant chords, such as minor 2nd intervals, tritones (flatted 5ths), or pinch harmonics.

In punk rock, breakdowns tend to be more upbeat, using the floor toms and snares to create a faster, 'rolling' rhythm, this provides audience members with an opportunity to skank, mosh, or form a circle pit.

Many of the bands that play in the genres of deathcore and metalcore make heavy use of breakdowns. Modern breakdowns usually consist of slow-paced strumming on the guitar, or fast syncopated triplet-feel patterns, both of which are typically palm muted and played on the lowest three strings of a guitar and a bass drop, these strings are usually tuned down from somewhere between drop-D tuning all the way down to drop-A tuning. Breakdowns in metalcore and deathcore are synonymous with hardcore dancing in live shows.

In bluegrass music, a break is a short instrumental solo played between sections of a song and is conventionally a variation on the song's melody. A breakdown is an instrumental form that features a series of breaks, each played by a different instrument. Examples of the form are "Bluegrass Breakdown" by Bill Monroe as well as "Earl's Breakdown" and "Foggy Mountain Breakdown", both of which were written by Earl Scruggs.

1.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes

2.
Bluegrass music
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Bluegrass music is a form of American roots music, and a related genre of country music. Settlers from Britain and Ireland arrived in Appalachia during the 18th century and these traditions consisted primarily of English and Scottish ballads—which were essentially unaccompanied narrative—and dance music, such as Irish reels, which were accompanied by a fiddle. Many older bluegrass songs come directly from the British Isles, several Appalachian bluegrass ballads, such as Pretty Saro, Barbara Allen, Cuckoo Bird and House Carpenter, come from England and preserve the English ballad tradition both melodically and lyrically. Others, such as The Two Sisters, also come from England, however, some bluegrass fiddle songs popular in Appalachia, such as Leather Britches, and Pretty Polly, have Scottish roots. The dance tune Cumberland Gap may be derived from the tune that accompanies the Scottish ballad Bonnie George Campbell and this is in contrast to old-time music, in which all instruments play the melody together or one instrument carries the lead throughout while the others provide accompaniment. Breakdowns are often characterized by rapid tempos and unusual instrumental dexterity, there are three major subgenres of bluegrass and one unofficial subgenre. Traditional bluegrass has musicians playing folk songs, tunes with traditional chord progressions, progressive bluegrass groups may use electric instruments and import songs from other genres, particularly rock & roll. Examples include Cadillac Sky and Bearfoot, another subgenre, Bluegrass gospel uses Christian lyrics, soulful three- or four-part harmony singing, and sometimes the playing of instrumentals. Bluegrass music has attracted a following worldwide. Bluegrass pioneer Bill Monroe characterized the genre as, Scottish bagpipes and its Methodist and Holiness and Baptist. Its blues and jazz, and it has a high lonesome sound, unlike mainstream country music, bluegrass is traditionally played on acoustic stringed instruments. The fiddle, five-string banjo, guitar, mandolin, and upright bass are often joined by the resonator guitar and this instrumentation originated in rural dance bands and is the basis on which the earliest bluegrass bands were formed. The guitar is now most commonly played with a style referred to as flatpicking, unlike the style of bluegrass guitarists such as Lester Flatt. Banjo players often use the three-finger picking style made popular by such as Don Reno. Fiddlers frequently play in thirds and fifths, producing a sound that is characteristic to the bluegrass style, bassists almost always play pizzicato, occasionally adopting the slap-style to accentuate the beat. A bluegrass bass line is generally a rhythmic alternation between the tonic and dominant of each chord, with walking bass excursions. Instrumentation has been a topic of debate. Traditional bluegrass performers believe the correct instrumentation is used by Bill Monroes band

3.
Earl Scruggs
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Earl Eugene Scruggs was an American musician noted for popularizing a three-finger banjo picking style now called Scruggs style that is a defining characteristic of bluegrass music. His three-finger style of playing was different from the ways the five-string banjo had been historically played. He popularized the instrument in genres of music and elevated the banjo from its role as a background rhythm instrument or a comedians prop into featured solo status. Scruggs career began at age 21 when he was hired to play in a group called Bill Monroe, the name bluegrass stuck and eventually became the eponym for this entire genre of county music. Another band member, Lester Flatt resigned as well, and later the two men paired up again in a new group they called Flatt and Scruggs and the Foggy Mountain Boys. The song won two Grammy Awards and in 2005 was selected for the Library of Congress National Recording Registry of works of unusual merit, Flatt and Scruggs brought bluegrass music into mainstream popularity in the early 1960s with their country hit, The Ballad of Jed Clampett. This song was the music for the successful network television sitcom The Beverly Hillbillies and was the first bluegrass recording to reach number one on the Billboard charts. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 single records, each of them formed a new band that matched his own vision, but neither man ever regained the success they had reached as a team. Scruggs received four Grammy awards, the Grammy Lifetime Achievement Award, Scruggs was awarded a National Heritage Fellowship given by the National Endowment for the Arts, the highest honor in the folk and traditional arts in the US. Four works by Scruggs have been placed in the Grammy Hall of Fame, after Scruggs death in 2012 at age 88, the Earl Scruggs Center near his birthplace in Shelby, North Carolina was founded with the aid of a federal grant and corporate donors. The center is a $5.5 million facility which features the contributions of Scruggs and serves as an educational center providing classes. Scruggs was born January 6,1924 just outside of Boiling Springs, North Carolina, in a community called Flint Hill and his father, George Elam Scruggs, was a farmer and a bookkeeper who died of a protracted illness when Scruggs was four years old. Upon his death, Scruggs mother, Georgia Lula Rupee, was left to care of the farm and five children. The family members all played music, mr. Scruggs had played an open back banjo using the frailing technique, but Earl, as an adult had no recollection of his fathers playing. Mrs. Scruggs played the pump organ, earls siblings, older brothers Junie and Horace, and older sisters Eula Mae and Ruby, all played banjo and guitar. Scruggs recalls a visit to his uncles home at age six to hear a banjo player named Mack Woolbright. This made an impression on Scruggs, who said, Hed sit in the rocking chair, I couldnt imagine — he was the first, what I call a good banjo player. Scruggs then took up the instrument — he was too small to hold one at the start and he moved it around depending on what part of the neck he was playing

4.
Bill Monroe
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William Smith Monroe was an American mandolinist, singer, and songwriter who created the style of music known as bluegrass. Because of this he is referred to as the Father of Bluegrass. The genre takes its name from his band, the Blue Grass Boys, Monroes performing career spanned 69 years as a singer, instrumentalist, composer and bandleader. Monroe was born on his familys farm near Rosine, Kentucky and his mother and her brother, Pendleton Pen Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Because his older brothers Birch and Charlie already played the fiddle and guitar and he recalled that his brothers insisted he should remove four of the mandolins eight strings so he would not play too loudly. Monroes mother died when he was ten, followed by his six years later. This experience inspired one of Monroes most famous compositions, Uncle Pen, recorded in 1950, on that album, Monroe recorded a number of traditional fiddle tunes he had often heard performed by Vandiver. Uncle Pen has been credited with giving Monroe a repertoire of tunes that sank into Bills aurally trained memory, also significant in Monroes musical life was Arnold Shultz, an influential fiddler and guitarist who introduced Monroe to the blues. In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, together with a friend Larry Moore, they formed the Monroe Brothers, to play at local dances and house parties. RCA Victor signed the Monroe Brothers to a contract in 1936. They scored a hit single with the gospel song What Would You Give in Exchange For Your Soul. After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted Old Hickory to become one of the members of his Blue Grass Boys. In October 1939, Monroe successfully auditioned for a spot on the Grand Ole Opry. Hay with his performance of Jimmie Rodgerss Mule Skinner Blues. While the fast tempos and instrumental virtuosity characteristic of music are apparent even on these early tracks. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers, a 1945 session for Columbia Records featured an accordion, soon dropped from the band

5.
Bridge (music)
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In music, especially western popular music, a bridge is a contrasting section that prepares for the return of the original material section. The bridge may be the third eight-bar phrase in a form, or may be used more loosely in verse-chorus form, or, in a compound AABA form. The term comes from a German word for bridge, Steg, the bridge is often used to contrast with and prepare for the return of the verse and the chorus. The b section of the song chorus is often called the bridge or release. For example, the B of AABA in thirty-two-bar form, with the surrounding the whole. While the bridge in verse-chorus and other forms is C, for example, lyrically, the bridge is typically used to pause and reflect on the earlier portions of the song or to prepare the listener for the climax. The term may refer to the section between the verse and the chorus, though this is more commonly called the pre-chorus or link. Similarly, in the Axis of Awesome song This Is How You Write a Love Song, in the song Get Up Sex Machine, James Brown asks if he can take the band to the bridge. Led Zeppelin makes an in-joke regarding the use of bridges in popular music in their song The Crunge, asking, at the end, the song, humorously, does not have a bridge. Bridges are also common in music, and are known as a specific Sequence form—also known as transitions. The latter work also provides good examples of a short bridge to smooth a modulation. Instead of simply repeating the whole exposition in the key, as would be done in a symphony of the classical period. A two-bar bridge achieves this transition with Franks characteristic combination of enharmonic and chromatic modulation, after the repeat of the first subject, another bridge of four bars leads into the transition theme in F major, the key of the true second subject. In a fugue, a bridge is. a short passage at the end of the first entrance of the answer and its purpose is to modulate back to the tonic key from the answer. Not all fugues include a bridge, an example of a bridge-passage that separates two sections of a more loosely organized work occurs in George Gershwins An American in Paris. As Deems Taylor described it in the notes for the first performance. The Americans itinerary becomes somewhat obscured, however, since what immediately ensues is technically known as a bridge-passage, one is reasonably justified in assuming that the Gershwin pen. has perpetrated a musical pun and that. Our American has crossed the Seine, and is somewhere on the Left Bank, break Montgomery-Ward bridge Sears Roebuck bridge Song structure Appen, Ralf von / Frei-Hauenschild, Markus AABA, Refrain, Chorus, Bridge, Prechorus — Song Forms and their Historical Development

6.
My Lovin' (You're Never Gonna Get It)
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My Lovin is a song by American female group En Vogue, released in 1992. It is the single from their multi-platinum hit album, Funky Divas. VH1 ranked it #43 on its list for the 100 Greatest Songs of the 90s. The single was certified gold by the RIAA for sales/shipments of over 500,000 units, in 2016, the song appears in the introduction of the movie Central Intelligence. In Lip Sync Battle, Queen Latifah sang this and my Lovin contains a sample of the guitar riff from the James Brown song The Payback. The guitar sample is looped throughout the song and forms the basis of the melody. The song features Maxine Jones and Dawn Robinson on lead vocals, in a 1992 article, En Vogue mentioned this was one of the last songs they recorded for Funky Divas, which resulted in it being released as a single so close to the albums release date. My Lovin was the fourth number one on the Hot Soul charts. It debuted on the U. S. Billboard Hot 100 singles chart at #71, the week of March 21,1992, and jumped to #47 by the following week. The single glided into the top tier, reaching its peak of #2 by the week of May 16,1992 and my Lovin was one of several top contenders during the summer of 1992 that was held out of the top spot by Kris Kross. Nevertheless, the song was one of the most notable and popular songs of the year, remaining in the Top 10 for thirteen weeks, the song also reached #4 in the UK Singles Chart. The video for the song was directed by Matthew Rolston in February 1992, the video features the group singing the song, intercut with footage of two male back-up dancers, clad in zentai, dancing. In 2011 Slant Magazine ranked the song #39 in its The 100 Best Singles of the 1990s-list

7.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones

8.
Reverberation
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Reverberation, in psychoacoustics and acoustics, is the persistence of sound after a sound is produced. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. In comparison to an echo that is a minimum of 50 to 100 ms after the initial sound. As time passes, the amplitude of the reflections is reduced until it is reduced to zero, Reverberation is not limited to indoor spaces as it exists in forests and other outdoor environments where reflection exists. Reverberation occurs naturally when a person sings, talks or plays an instrument acoustically in a hall or performance space with sound-reflective surfaces. The sound of reverberation is often added to the vocals of singers in live sound systems. The time it takes for a signal to drop by 60 dB is the reverberation time, RT60 is the time required for reflections of a direct sound to decay 60 dB. Reverberation time is stated as a single value, if measured as a wide band signal, however, being frequency dependent. Being frequency dependent, the time measured in narrow bands will differ depending on the frequency band being measured. For precision, it is important to know what ranges of frequencies are being described by a time measurement. In the late 19th century, Wallace Clement Sabine started experiments at Harvard University to investigate the impact of absorption on the reverberation time. Using a portable wind chest and organ pipes as a sound source and he found that the reverberation time is proportional to room dimensions and inversely proportional to the amount of absorption present. The optimum reverberation time for a space in which music is played depends on the type of music that is to be played in the space, rooms used for speech typically need a shorter reverberation time so that speech can be understood more clearly. If the reflected sound from one syllable is still heard when the syllable is spoken. Cat, Cab, and Cap may all sound very similar, if on the other hand the reverberation time is too short, tonal balance and loudness may suffer. Reverberation effects are used in studios to add depth to sounds. Reverberation changes the perceived spectral structure of a sound, but does not alter the pitch, basic factors that affect a rooms reverberation time include the size and shape of the enclosure as well as the materials used in the construction of the room. Every object placed within the enclosure can also affect this time, including people

9.
Moshing
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Moshing or slamdancing is a style of dance in which participants push or slam into each other, typically performed to aggressive live music. Though moshing is primarily done to music, it can also be done to recorded music. Variations of moshing exist, and can be alone as well as in groups. Moshing usually happens in a called the pit near the stage. It is intended to be energetic and full of body contact, variations on the traditional mosh include pogoing, circle pits and the more extreme wall of death. Some moshers swing their arms back and forth and move their legs in a rhythmic fashion, Moshing is typically done in an area in the center of the crowd, generally closer to the stage. While moshing is seen as a form of fan feedback or expression of enjoyment. Injuries have been reported in mosh pits, and a few deaths have occurred in Wall of Death moshing, the term mosh came into use in the early 1980s American hardcore scene in Washington, D. C. Early on, the dance was frequently spelled mash in fanzines and record liner notes, to mash it up was to go wild with the frenzy of the music. Due to his Jamaican-accented pronunciation of the word, fans heard this as mosh instead, by the mid-1980s, the term was appearing in print with its current spelling. By the time thrash metal band Anthrax used the term in their song Caught in a Mosh, fans of Billy Milano and the band Stormtroopers of Death have often used the term mosh as an acronym for the phrase move over shit head during crowded shows. Through the mainstream success of bands like Anthrax, Nirvana, Stormtroopers of Death, and the Melvins, the first dance identifiable as moshing may have originated in Orange County, California, during the first wave of American hardcore. At the time California hardcore punk bands such as the Circle Jerks, Black Flag, Fear, by the end of the 1980s, the initial wave of American hardcore punk had waned and split into other subgenres. The Seattle-based grunge movement was among the styles of music that directly evolved from hardcore. Through the mainstream success of grunge bands, the word mosh entered the popular North American vocabulary. According to John Linnell of They Might Be Giants, it didn’t matter what kind of music you were playing or what kind of band you were and it was just kind of the enforced rule of going to concerts. Researchers from Cornell University in Ithaca studied the emergent behavior of crowds at mosh pits by analyzing online videos, simulating the crowds with computer models, they found out that a simulation dominated by flocking parameters produced highly ordered behavior, forming vortexes like those seen in the videos. The Washington D. C. post-hardcore band Fugazi opposed slamdancing at their live shows, Consolidated, an industrial dance group of the 1990s, stood against moshing

10.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes

11.
Deathcore
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Deathcore is an extreme metal fusion genre that combines the characteristics of death metal and metalcore and sometimes hardcore punk. It makes use of death metal riffs and blast beats, as well as metalcore breakdowns, Deathcore gained most prominence within the southwestern United States, especially Arizona and inland southern California, which are home to many notable bands and various festivals. Deathcore combines death metal such as blast beats, down-tuned guitars, tremolo picking. The genre is defined by breakdowns and death metal riffs or metalcore riffs played in the usual death metal tuning. Like in other extreme metal genres, deathcore guitarists down-tune their guitars to give their music a heavier sound. Deathcore bands may also employ guitar solos as well, low growls and shrieked screams are common vocalizations. Some other techniques that deathcore vocalists have used include what is known as pig squeals, sung vocals in the genre are extremely rare and most deathcore bands have never used them, but the idea has been experimented with by a few bands such as All Shall Perish and Oceano. The term deathcore originated in the mid-1990s, in 1996, Nick Terry of Terrorizer magazine wrote, in spite of this, Antagony and Despised Icon are considered to be the pioneers of deathcore. However, Despised Icon has rejected the label, Nick Vasallo is credited as being the father of deathcore. Deathcore also began to gain popularity in the late 2000s. Notable bands that brought the genre in the highlight include Bring Me the Horizon, after its release, Whitechapels album This Is Exile sold 5,900 in copies, which made it enter the Billboard 200 chart at position 118. Their self-titled album peaked at number 65 on the Canadian Albums Chart and their third album A New Era of Corruption sold about 10,600 copies in the United States in its first week of being released and peaked at position number 43 on the Billboard 200 chart. Furthermore, Bring Me the Horizon won the 2006 Kerrang, awards for Best British Newcomer after they released their 2006 debut record Count Your Blessings. However, Bring Me the Horizon abandoned the genre after the release of this album. Lastly, San Diego natives Carnifex, witnessed success with their first album Dead in My Arms, on top of their non-stop touring and methodical songwriting resulted in Carnifex quickly getting signed to label Victory Records. A variety of deathcore bands experimented with other genres into their music as influence as time went by, for example, early material by the band Fallujah was described as carrying deathcore and black metal influence respectively. On the other hand, Emmure has been credited to be influenced by nu metal and was described as the new Limp Bizkit. Deathcore has been criticized and looked down upon, especially by fans of some other heavy metal subgenres

12.
Metalcore
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Metalcore is a broad fusion genre of extreme metal and hardcore punk. The word is a blend of the names of the two genres, among other genres blending metal and hardcore, such as crust punk and grindcore, metalcore is noted for its use of breakdowns, which are slow, intense passages that are conducive to moshing. Pantera and Sepultura have been influential to the development of metalcore in the 2000s. Black Flag and Bad Brains, among the originators of hardcore, British street punk groups such as Discharge and the Exploited also took inspiration from heavy metal. The Misfits put out the Earth A. D. album, nonetheless, punk and metal cultures and music remained fairly separate through the first half of the 1980s. Cross-pollination between metal and hardcore eventually birthed the crossover thrash scene, which gestated at a Berkeley club called Ruthies, the term metalcore was originally used to refer to these crossover groups. Hardcore punk groups Corrosion of Conformity, D. R. I. and Suicidal Tendencies played alongside thrash metal groups like Metallica and Slayer. This scene influenced the skinhead wing of New York hardcore, which began in 1984. The Cro-Mags were among the most influential of these bands, drawing equally from Bad Brains, Motörhead, Cro-Mags also embraced straight edge and Krishna consciousness. Another New York metal-influenced straight edge group of time period is the Crumbsuckers. 1985 saw the development of the breakdown, an amalgamation of Bad Brains reggae and metal backgrounds. Agnostic Fronts 1986 album Cause for Alarm, a collaboration with Peter Steele, was a watershed in the intertwining of hardcore, between 1984 and 1995, a new wave of bands emerged. Hogans Heroes are the earliest metallic hardcore group and were formed in 1984. Other bands include Integrity, Biohazard, Hoods, Earth Crisis, Converge, Shai Hulud, All Out War, Madball, Starkweather, Judge, Strife, Rorschach, Vision of Disorder Hatebreed, and Disembodied. Integrity drew influence from the hardcore band G. I. S. M. Earth Crisis, Converge and Hatebreed borrowed from hardcore punk and death metal. Earth Crisiss 1995 album Destroy the Machines was particularly influential to the development of the genre, Biohazard, Coalesce and Overcast were also important early metalcore groups. Journalist Lars Gotrich wrote, Along with key records by The Dillinger Escape Plan and Botch, at the risk of sounding too reductive — metalcore was the natural progression where extreme metal and hardcore met, but with spiraling time signatures that somehow felt more aggressive. Shai Huluds 1997 album Hearts Once Nourished with Hope and Compassion became especially influential in the part of the decade

13.
Post-hardcore
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Like post-punk, the term has been applied to a broad constellation of groups. Hardcore punk typically features very fast tempos, loud volume, and heavy bass levels, additionally, many of these bands vocalists were just as likely to deliver their lyrics with a whispered croon as they were a maniacal yelp. Allmusic also claims that post-hardcore bands find creative ways to build and release tension rather than airing their dirty laundry in short, sharp, british post-punk of the late 1970s and early 1980s has been seen as influential on the musical development of post-hardcore bands. As the genre progressed some of these groups also experimented with an array of influences, including soul, dub, funk, jazz. Groups such as Saccharine Trust, Naked Raygun, and The Effigies, during the early to mid-1980s, the desire to experiment with hardcores basic template expanded to many musicians that had been associated with the genre or had strong roots in it. Many of these also took inspiration from the 1980s noise rock scene pioneered by Sonic Youth. Some bands signed to the independent label Homestead Records, including Squirrel Bait, a reviewer noted that the groups 1989s release Wrong was one of the most aggressive and powerful opuses in post-hardcore ever made. During the years 1984 and 1985 in the scene, a new movement had swept over. When The Faith put out the EP Subject to Change in 1983 it marked an evolution in the sound of D. C. hardcore. This movement has been widely known as the Revolution Summer. Other bands have been perceived as taking inspiration from such as funk. According to Eric Grubbs, a nickname was developed for the new sound, with some considering it post-harDCore, the latter, mentioned in skateboarding magazine Thrasher, would come up in discussions around the D. C. area. In the nearby state of Maryland, similar bands that are categorized now as post-hardcore would also emerge and this group has also been considered as one of the earliest emo acts. The second half of the 1980s saw the formation of bands in D. C. which included Shudder to Think, Jawbox, The Nation of Ulysses. MacKaye described this period as the busiest that the Dischord Records label had ever seen. Most of these acts, along with ones, would contribute to the 1989 compilation State of the Union. It has also noted that the groups ever-evolving sound would signal a more experimental turn in hardcore that paved the way for later Dischord releases. Similarly, the debut studio album, 1990s Repeater, has also been generally regarded as a classic

14.
Horse the Band
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Horse the Band is an American band from Lake Forest, California who are best known for their 8-bit videogame-influenced sound combined with metalcore. Frontman Nathan Winneke once jokingly described their sound as Nintendocore, although the band have gone to lengths reiterating that this describes the sound. In the summer of 2004, they embarked upon the Horse the World Tour 2004, giving way to 85 shows in 90 days, spanning seven countries throughout North America and Europe. Early 2008 saw the band planning Horse the Band Earth Tour that would travel to 40 countries starting in early March, the band stated weve become disillusioned, bad-attitude nerds and pariahs of the established music industry. The bands lineup has fluctuated throughout its existence, with keyboardist Erik Engstrom. On February 2,2009, Horse the Band signed to Vagrant Records, in an interview they stated that they had been trying to get onto that label for nine years. Horse the Bands latest album Desperate Living was released on October 6,2009, the band has continuously remained active in playing live shows even as the members have begun adult lives and as keyboardist Erik Engstrom moved to Germany. They appear to have no current plans to record another album, though in recent years they often discuss very little about their future with new releases

15.
Killswitch Engage
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Killswitch Engage is an American metalcore band from Westfield, Massachusetts, formed in 1999 after the disbanding of Overcast and Aftershock. Killswitch Engages current lineup consists of vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike DAntonio, the band has released seven studio albums and one DVD. Their latest album, Incarnate, was released on March 11,2016, the title track, The End of Heartache, was nominated for a Grammy Award in 2005 for Best Metal Performance, and a live DVD titled World Ablaze was released in 2005. The band has sold four million records in the U. S. and has been considered notable within the New Wave of American Heavy Metal. Killswitch Engage formed following the disbandment of metalcore bands Overcast and Aftershock in 1999, after Overcast broke up in 1998, bassist Mike DAntonio jammed with Aftershock guitarist Adam Dutkiewicz. Dutkiewicz, now playing drums, recruited guitarist Joel Stroetzel from Aftershock and vocalist Jesse Leach of the band Nothing Stays Gold to form a new band, in 1999, Killswitch Engage recorded a demo containing four tracks, including Soilborn, the first song written by the band. The demo was first released at the bands first show, opening for melodic death metal act In Flames and they released their self-titled debut album the following year. Although initially the album was not a success and did not land on any charts, it attracted the interest of Carl Severson. Severson handed Killswitch Engage to several Roadrunner representatives, Mike Gitter, a talent agent of the company, contacted DAntonio, attended several of the bands shows, and offered the band a recording contract with Roadrunner. Realizing that Roadrunner had the resources to promote and distribute Killswitch Engage releases, for a brief time in 2000 and 2001, ex-Overcast guitarist Pete Cortese joined Killswitch Engage, but left when he became a father. Killswitch Engage began writing new material for their album in November 2001. Mixed in January at Backstage Studios by producer Andy Sneap, the album was titled Alive or Just Breathing for lyrics in the song Just Barely Breathing. A music video for the single My Last Serenade increased the exposure. After Leach was married on April 20,2002 and began touring again he fell into a depression, Leach left the band a few days before the band was meant to play a show and sent the band members an e-mail telling them he had quit. DAntonio said in an interview that after three years of hanging out with the dude, and considering him a brother, to just get an email was a bit harsh. The band immediately started to search for a replacement vocalist and found Howard Jones of Blood Has Been Shed, Jones disliked the bands sound when he first heard it. He commented, I was like, Meh, I come from hardcore and dirtier metal, and Killswitch sounded so clean. But the more I listened to it, I realized theres some good songs here

16.
Asking Alexandria
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Initially formed in 2006 by Ben Bruce, the band officially established as a six-piece in 2008 with the founding lineup consisting of Bruce, Worsnop, Cassells, Liddell, Joe Lancaster and Ryan Binns. After the departure of Lancaster and Binns, as well as the recruitment of bassist Sam Bettley in 2009, the band released two studio albums Reckless & Relentless and From Death to Destiny, before the departure of Worsnop in January 2015. He was replaced by Denis Stoff and the band released The Black, Stoff departed from the band in October that year and Worsnop subsequently returned to the band. Ben Bruce, the current lead guitarist and backing vocalist, originally formed the band in Dubai. The bands original line up consisted of different members compared to that of the bands lineup from 2008 and released their debut EP. In 2006, then followed up with them debut album titled The Irony of Your Perfection in 2007, later that year the band became a six-piece after recruiting Ryan Binns on synthesizers, James Cassells on drums, Joe Lancaster on bass and Cameron Liddell on rhythm guitar. Later that year Binns decided to leave the band and in January 2009, Lancaster later joined the metalcore band With One Last Breath. Bruce carried the name due to not wanting to bother to come up with a brand new name. When asked why he chose that name, he explained that Most bands have a pretty shit band name. I came up with Alexandria as a name, because people relate to humans. Although the reason for using the word asking is not explained, Stand Up and Scream was recorded during Spring 2009 and was produced by Joey Sturgis. The band signed to Sumerian Records and released their album on 15 September. The album charted only in the US peaking at 4 in the Top Heatseekers,24 in the Top Hard Rock Albums and 29 in the Top Independent Albums. They toured across the US as an act in March with bands We Came as Romans, From First To Last, Our Last Night. The band supported metalcore outfit Attack Attack, throughout March and April along with Breathe Carolina, I See Stars and Bury Tomorrow in the US. They later supported Dance Gavin Dance during their European tour in April to early May along with In Fear and Faith, during which they performed at The Bamboozle festival on 1 May. The band performed at the Thrash & Burn tour as a headline act along with Born of Osiris, Kittie and their second album, titled Reckless & Relentless was released 4 April 2011. This time, the album did chart in the UK, peaking at 7 on the UK Rock Chart, the band also released a cover of Akons song Right Now for the Punk Goes

17.
Attack Attack!
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Attack Attack. was an American metalcore band from Westerville, Ohio, United States, formed in 2007 originally as Ambiance, later changing their name. Attack Attack. s first release, an independent EP titled If Guns Are Outlawed, Can We Use Swords. was released in 2008 and they released three full-length albums, Someday Came Suddenly, a self-titled album, and This Means War all through Rise Records. The band left Rise Records in 2012 and disbanded a year later after a farewell tour, Attack Attack. was formed around 2006 when Johnny Franck, Andrew Whiting, Nick White and Andrew Wetzel met Austin Carlile while playing in local high school bands. Caleb Shomo joined the band as the keyboardist, and they changed the name to Attack Attack, in 2007 the band entered a local studio where they recorded material that was put up on Myspace to promote their music. As the oldest member of the band, Wetzel also acted as their manager for most of the year, the band were taken on by manager Eric Rushing of The Artery Foundation who signed them to Rise Records in May 2008. As members of the band were still underage at this point, the material recorded in 2007 was put together on the EP If Guns Are Outlawed, Can We Use Swords. The band were signed by booking agent David Shapiro of the Agency Group that resulted in nationwide tours. In November 2008 they released their album, Someday Came Suddenly. Upon the release the album peaked on the Billboard Independent Albums chart and reached number 193 on the Billboard 200, with sales of more than 3,600 in its first week despite its mediocre reviews. Later, halfway through a tour supporting Maylene and the Sons of Disaster, vocalist Austin Carlile was replaced by Nick Barham, then toured with Escape the Fate, William Control, Black Tide and Burn Halo early in 2009. The band was part of the Warped Tour 2009 where they appeared on one of the smaller stages, released a music video for their song Stick Stickly. The Stick Stickly video has led to a number of criticisms, including pieces by Buddyhead. The band also has a video for the song Dr. Shavargo Pt.3. On October 19,2009, lead vocalist Nick Barham announced his departure from Attack Attack. Just two days short of their tour, he stated in his blog on MySpace that It was just time for change. The band then made the decision of Caleb Shomo to be moved as the primary vocalist. The bands self-titled album was released on June 8,2010 and they headlined the This Is a Family Tour in November 2010. On November 10,2010 Johnny Franck announced he had departed from the band to focus on his relationship with God and he has started a new project called The March Ahead

18.
Lamb of God
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Lamb of God is a title for Jesus that appears in the Gospel of John. It appears at John 1,29, where John the Baptist sees Jesus and exclaims, Christian doctrine holds that divine Jesus chose to suffer crucifixion at Calvary as a sign of his full obedience to the will of his divine Father, as an agent and servant of God. In Christian theology the Lamb of God is viewed as foundational and integral to the message of Christianity, a lion-like lamb that rises to deliver victory after being slain appears several times in the Book of Revelation. It is also referred to in Pauline writings,1 Corinthians 5,7 suggests that Saint Paul intends to refer to the death of Jesus, the lamb metaphor is also in line with Psalm 23, which depicts God as a shepherd leading his flock. It also is used in liturgy and as a form of contemplative prayer, the Agnus Dei also forms a part of the musical setting for the Mass. These two proclamations of Jesus as the Lamb of God closely bracket the Baptists other proclamation in John 1,34, I have borne witness that this is the Son of God. From a Christological perspective, these proclamations and the descent of the Holy Spirit as a dove in John 1,32 reinforce each other to establish the divine element of the Person of Christ. The Book of Revelation includes over twenty-nine references to a lamb which delivers victory in a manner reminiscent of the resurrected Christ. In the first appearance of the lamb in Revelation only the lamb is found worthy to take the judgment scroll from God and break the seals. The reference to the lamb in Revelation 5,6 relates it to the Seven Spirits of God which first appear in Revelation 1,4 and are associated with Jesus who holds them along with seven stars. In Revelation 21,14 the lamb is said to have twelve apostles, the handing of the scroll to the risen lamb signifies the change in the role of the lamb. In Calvary, the lamb submitted to the will of the Father to be slain, the concept of the Lamb of God fits well within Johns agent Christology, in which sacrifice is made as an agent of God or servant of God for the sake of eventual victory. The theme of a lamb which rises in victory as the Resurrected Christ was employed in early Christology, e. g. in 375 Saint Augustine wrote. Because he underwent death without being guilty of any iniquity, why a lion in his passion. Because in being slain, he slew death, why a lamb in his resurrection. Why a lion in his resurrection, because everlasting also is his might. Anselm emphasized that as Lamb of God, Jesus chose to suffer in Calvary as a sign of his obedience to the will of the Father. However, as above Saint Anselm and John Calvins view reject the Scapegoat symbolism for they view Jesus as making a sacrifice as an agent of God

19.
Unearth
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Unearth is an American metalcore band from Boston, Massachusetts. Formed in 1998, the group has released six studio albums, Unearth was formed by Trevor Phipps, Buz McGrath, Ken Susi, Mike Rudberg, and Chris Rybicki in Lynn, Massachusetts in 1998. The band began as Point 04, and Susi was recruited soon afterwards, the band attempted to recruit Phipps while he recovered from appendicitis, but Phipps was reluctant to join. However, when Phipps showed up to a jam session for one of Susis side bands, Unearth was practicing instead, the name Unearth was coined by drummer Mike Rudberg as he wanted the band to Unearth a new sound in the metal and hardcore world. On the small independent label, Endless Fight Records, they released their first EP called Above the Fall of Man in May 1999, Unearth then signed to Eulogy Recordings to release The Stings of Conscience in 2001 and the Endless EP in 2002. During the process of Endless, Chris Rybicki left the group and was replaced by John Maggard, also Buz McGrath left for personal problems but came back shortly after. The rest of Unearth would then use Tim Mycek of Sworn Enemy as temporary replacement drummer, before Buz returned, Mike Martin from All That Remains also filled in for him. After Buzs return, Adam D from Killswitch Engage also filled in on drums for the last 2 months of the year. That summer, they played at Ozzfest and would begin touring with Killswitch Engage, Shadows Fall. They would also tour with Slipknot the next year, in 2005, Unearth performed in the first ever Sounds of the Underground tour with numerous bands like Norma Jean, Gwar, and All That Remains. In early 2006, they began writing their next album, after the writing process, they recorded III, In the Eyes of Fire with well-known heavy metal producer Terry Date at Seattle. As they finished their latest album, they performed at Ozzfest for the second time, during the release, they began their headlined Sanctity of Brothers tour with Bleeding Through, Animosity, Through the Eyes of the Dead and Terror. After participating in Japans Loud Park festival, Unearth and Slayer toured together all around the U. S. in early 2007 on the Christ Illusion tour and they headlined a European tour in the beginning of 2007 with Job for a Cowboy, Despised Icon, and DÅÅTH. Which was followed by a U. S, & Canadian tour with Dimmu Borgir, DevilDriver and Kataklysm that began in the middle of April. It was during this tour that drummer Mike Justian was fired from the band for numerous reasons, to fill in for the rest of the tour, Gene Hoglan of Strapping Young Lad was recruited. They played in the 2007 Download Festival with Seemless/Kingdom of Sorrow/studio drummer Derek Kerswill who has joined the band officially. The bands live DVD Alive from the Apocalypse was released on March 18,2008 and it was also certified gold in Canada a week after its release. On October 14,2008, Unearth released their fourth album, the album features a re-recorded version of the song The Chosen, which they contributed to the album Aqua Teen Hunger Force Colon Movie Film for Theaters Colon the Soundtrack

20.
Fear, and Loathing in Las Vegas (band)
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Fear, and Loathing in Las Vegas is a Japanese electronicore band from Kobe, Hyōgo Prefecture, formed in summer 2008. Founded in 2008 summer, Fear, and Loathing in Las Vegas was originally formed by members of the bands Ending for a Start, a year later, after an extensive search, So joined as the sixth member. In 2010, PAC started using their song Evolution as his music when wrestling in Dragon Gate. In 2011, the song Jump Around from the bands extended-play album Nextreme was selected to appear in the video game Pro Evolution Soccer 2012 as 4th track, the song Chase the Light was used as the opening theme for Gyakkyō Burai Kaiji, Hakairoku-hen. In late 2011, the bands song Just Awake was featured as the song in the Hunter × Hunter reboot anime. On 22 June 2012, the announced that they will be releasing a new album on 8 August, called All That We Have Now. In April 2013, the announced the release of their first DVD, called The Animals in Screen. As a result, they start a new tour. The song Virtue and Vice is featured as the theme for Gokukoku no Brynhildr. Both songs are taken from their album, Phase 2. On 5 September 2014, the band announced on their site that they will release a new limited single on 7 January 2015 called Let Me Hear. On 8 October, the version of their new single premiered as the opening theme of Parasyte -the maxim-. On 12 August, the released a new PV for the song Cast Your Shell which also appeared on the 4th album. On 16 August, they announced the title of the 4th album as being Feeling of Unity which was released on 30 September 2015

21.
Enter Shikari
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In 2003, guitarist Liam Rory Clewlow joined the band to complete its current lineup, and it adopted its current name. In 2006, they performed to a growing fanbase at Download Festival as well as a concert at the London Astoria. Their debut studio album, Take to the Skies, was released in 2007 and reached number 4 in the Official UK Album Chart, both have since been certified silver in the UK. Enter Shikari have their own label, Ambush Reality. However, they have also signed deals with several major labels to help with worldwide distribution. Their eclectic musical style combines influences from rock, especially rock and hardcore punk. In 1999 a band named Hybryd formed, consisting of Rou Reynolds on guitar and vocals, Chris Batten on bass guitar and they released an EP called Commit No Nuisance, which featured the tracks Perfect Pygmalion, Look Inside, Torch Song, Honesty Box and Fake. In 2003, with the addition of guitarist Liam Rory Clewlow, the band was named after Shikari, a boat belonging to vocalist Rou Reynolds uncle. After the bands lineup and name change, Reynolds focused his efforts on vocals. They had another demo EP planned for release in 2005, for this the first versions of Return To Energiser and Labyrinth were recorded. Early versions of OK Time for Plan B and We Can Breathe in Space were also recorded around this time and it was at this time that Kerrang. Radios Alex Baker picked up on the band, and as he didnt have a release to play, he streamed OK Time For Plan B off the bands Myspace page. In August 2006 they released a video of the single Mothership which became the single of the week on the iTunes Store. Their first physical single featured re-recorded versions of Sorry Youre Not a Winner/OK Time for Plan B and it was released on 30 October 2006. It was limited to 1000 copies of each format and sold out within the first week of release, in mid January 2007, Enter Shikaris first single, Mothership, entered the UK singles chart for one week at number 151, on Downloads only. This was followed a week later by Sorry Youre Not a Winner/OK Time for Plan B, in addition Sorry Youre Not a Winner/OK Time for Plan B featured on the EA Sports video game titles NHL08 and Madden 08. Enter Shikari secured a spot on the Gibson/Myspace stage at 2006s Download Festival and they also had interviews with popular music press such as Kerrang. and Rock Sound. On 4 November 2006, they became only the unsigned band to ever sell out London Astoria

22.
Song structure
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Song structure or the musical forms of songs in traditional music and music are typically sectional, repeating forms used in songs, such as strophic form and is a part of the songwriting process. Other common forms include thirty-two-bar form, verse-chorus form, and the twelve-bar blues, popular music songs traditionally use the same music for each verse of stanza of lyrics. Pop and traditional forms can be used even with songs that have differences in melodies. The most common format is intro, verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, verse, chorus and outro. The formal sections found in songs have been identified as the verse, chorus, bridge, hook, the foundation of popular music is the verse and chorus structure. Pop and rock songs nearly always have both a verse and a chorus, both are essential elements, with the verse usually played first. Exceptions abound, with She Loves You by The Beatles being an example in the rock music genre. Each verse usually employs the melody, while the lyrics usually change for each verse. The chorus usually consists of a melodic and lyrical phrase which is repeated, pop songs may have an introduction and coda, but these elements are not essential to the identity of most songs. Pop songs often connect the verse and chorus via a bridge, the verse and chorus are usually repeated throughout a song though the bridge, intro, and coda are usually only used once. Some pop songs may have a section, particularly in rock or blues influenced pop. During the solo section one or more instruments play a line which may be the melody used by the singer, or. The introduction is a section that comes at the beginning of the piece. Generally speaking, an introduction will contain just music and no words and it usually builds up suspense for the listener so when the downbeat drops in, it creates a release or surprise. In some songs, the intro is one or more bars of the tonic chord, the introduction may also be based around the chords used in the verse, chorus, or bridge, or a stock turnaround progression may be played, such as the I–vi–ii–V progression. In some cases, a contains only drums or percussion parts which set the rhythm. Alternately the introduction may consist of a sung by the lead singer. In popular music, a verse roughly corresponds to a poetic stanza because it consists of rhyming lyrics most often with an AABB or ABAB rhyme scheme, when two or more sections of the song have almost identical music and different lyrics, each section is considered one verse

23.
Refrain
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A refrain is the line or lines that are repeated in music or in verse, the chorus of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, the use of refrains is particularly associated with where the verse-chorus-verse song structure typically places a refrain in almost every song. The refrain or chorus often contrasts the verse melodically, rhythmically, and harmonically. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one section or block played repeatedly. In music, a refrain has two parts, the lyrics of the song, and the melody, a similar refrain is found in the Battle Hymn of the Republic, which affirms in successive verses that Our God, or His Truth, is marching on. Refrains usually, but not always, come at the end of the verse, some songs, especially ballads, incorporate refrains into each verse. Fa la la la la la la la la, as one grew bright as is the sun, Lay the bent to the bonny broom So coal black grew the other one. Here, the refrain is syntactically independent of the poem in the song, and has no obvious relationship to its subject. The device can also convey material which relates to the subject of the poem, such a refrain is found in Dante Gabriel Rossettis Troy Town, Heavenborn Helen, Spartas queen, O Troy Town. Had two breasts of heavenly sheen, The sun and moon of the desire, All Loves lordship lay between, A sheen on the breasts I Love. O Troys down, Tall Troys on fire, phrases of apparent nonsense in refrains, and solfege syllables such as fa la la, familiar from the Christmas carol Deck the Halls with Boughs of Holly, have given rise to much speculation. Some believe that the traditional refrain Hob a derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning dance around the oak tree, there are two distinct uses of the word chorus. In the thirty-two bar song form that was most common in the earlier twentieth-century popular music, beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form, choruses with fixed lyrics are alternated with verses in which the lyrics are different with each repetition, in this use of the word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. Many popular songs, particularly early in this century, are in a verse. Most popular songs from the middle of the century consist only of a chorus, according to the musicologists Ralf von Appen and Markus Frei-Hauenschild, In German, the term, Refrain, is used synonymously with chorus when referring to a chorus within the verse/chorus form. At least one English-language author, Richard Middleton, uses the term in the same way, in this usage, the refrain does not constitute a discrete, independent section within the form. A large number of Tin-Pan Alley songs using thirty-two bar form are central to the jazz repertoire

24.
Solo (music)
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In music, a solo is a piece or a section of a piece played or sung by a single performer. Performing a solo is to solo, and the performer is known as a soloist, the plural is soli or the anglicised form solos. Furthermore, the word soli can be used to refer to a number of simultaneous parts assigned to single players in an orchestral composition. In the Baroque concerto grosso, the term for such a group of soloists was concertino, cadenza Concerto Drum solo Guitar solo Piano solo Tutti Virtuoso

25.
Conclusion (music)
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In music, the conclusion is the ending of a composition and may take the form of a coda or outro. Pieces using sonata form typically use the recapitulation to conclude a piece, for example, The slow movement of Bachs Brandenburg Concerto No. 2, where a chord progression interrupts the final cadence. The slow movement of Symphony No.5 by Beethoven, where, echoing afterthoughts, follow the initial statements of the first theme and only return expanded in the coda. Varèses Density 21.5, where partitioning of the scale into whole tone scales provides the missing tritone of b implied in the previously exclusive partitioning by diminished seventh chords. Coda is a used in music in a number of different senses. An outro is the opposite of an intro, outro is a blend as it replaces the element in of the intro with its opposite, to create a new word. The term is used only in the realm of pop music. It can refer to the track of an album or to an outro-solo. Jeremy as recorded by Pearl Jam, outro - The final track of the M83 album Hurry Up, Were Dreaming. Repeat and fade is a direction used in sheet music when more than one repeat of the last few measures or so of a piece is desired with a fade-out as the manner in which to end the music. It originated as an effect made possible by the volume controls on sound recording equipment. No equivalent Italian term was in the lexicon of musical terms, so it was written in English. Repeat and fade endings are found in live performances, but are often used in studio recordings. Examples include, Hey Jude as recorded by The Beatles Time and a Word as recorded by Yes Crazy. as recorded by PaRappa and The Moonlight Da capo Epilogue

26.
Bass line
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It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are simple, appealing musical motifs or phrases that are repeated, with variation. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Bassline riffs usually emphasize the chord tones of each chord, which helps to define a songs key, at the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music, in swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, in bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord. In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role, however, most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used, from the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the bass in most types of popular music, such as rock and roll, blues. By the 1970s and 1980s, the bass was used in most rock bands. The double bass was used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz, traditional 1950s blues, jump blues, country. In some popular bands, keyboard instruments are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the pedal keyboard. In some types of music, such as hip-hop or house music. Basslines are especially important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog, chinese orchestras use the zhōng ruǎn and dà ruǎn for creating basslines

27.
Groove (music)
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In music, groove is the sense of propulsive rhythmic feel or sense of swing. In jazz, it can be felt as a repeated pattern. It can be created by the interaction of the music played by a rhythm section. Groove is a key of much popular music, and can be found in genres, including salsa, funk, rock, fusion. Musicologists and other scholars have analyzed the concept of groove since around the 1990s, the concept can be linked to the sorts of ostinatos that generally accompany fusions and dance musics of African derivation. The term is applied to musical performances that make one want to move or dance. The expression in the groove was widely used from around 1936 to 1945, at the height of the swing era, in the 1940s and 1950s, groove commonly came to denote musical routine, preference, style, source of pleasure. Like the term swing, which is used to describe a cohesive rhythmic feel in a jazz context, indeed, some dictionaries use the terms as synonyms, Groovy. enotes music that really swings. Marc Sabatellas article Establishing The Groove argues that groove is a subjective thing. He claims that one person may think a given drummer has a feel, while another person may think the same drummer sounds too stiff. Similarly, a bass educator states that while groove is a thing it can be defined as what makes the music breathe. In a musical context, general dictionaries define a groove as a pronounced, enjoyable rhythm or the act of creat, danc to, or enjoy rhythmic music. Steve Van Telejuice explains the groove as the point in this sense when he defines it as a point in a song or performance when even the people who cant dance wanna feel like dancing, due to the effect of the music. Bernard Coquelet argues that the groove is the way an experienced musician will play a rhythm compared with the way it is written by playing slightly before or after the beat. Coquelet claims that the notion of groove actually has to do with aesthetics and style, groove is an artistic element, that is to say human. Minute rhythmic variations by the section members such as the bass player can dramatically change the feel as a band plays a song. UK musicologist Richard Middleton notes that while the concept of groove has long familiar in musicians own usage, marks an understanding of rhythmic patterning that underlies its role in producing the characteristic rhythmic feel of a piece. He notes that the created by a repeating framework is also modified with variations

28.
Vocal harmony
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Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies have been an important part of Western art music since the Renaissance-era introduction of Mass melodies harmonized in sweet thirds, with the rise of the Lutheran churchs chorale hymn singing style, congregations sang hymns arranged with four or five-part vocal harmony. In the Romantic era of music during the 1800s, vocal harmonization became more complex, operas and choral music from the Romantic era used tense-sounding vocal harmonies with augmented and diminished intervals as an important tool for underscoring the drama of the music. As well, the rhythm of the harmony parts has to be in time with the lead singer. In more vocally oriented bands, backup singers may have to sing complex parts which demand a vocal agility and sensitivity equal to that of the vocal line. Usually, pop and rock bands use harmony vocals while the rest of the band is playing, however, as an effect, some rock and pop harmony vocals are done a cappella, without instrumental accompaniment. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as keyboards, in Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones. One of the more complex styles of vocal harmony is the barbershop quartet style, the melody is not usually sung by the tenor or bass. Barbershop quartets are more likely to use dissonant and tense-sounding dominant seventh chords than pop or rock bands and it used smooth, consonant vocal harmonies, with a number of singers imitating instruments while singing nonsense syllables. For example, in The Ravens song Count Every Star, the singers imitate the doomph, doomph plucking-sound of a double bass, well-known hits include In the Still of the Night by The Five Satins and Get a Job by The Silhouettes, a hit in 1958. Doo-wop remained popular until just before the British Invasion of 1964, a cappella Backup singer Barbershop arranging Doo-wop

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Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London

30.
Ostinato
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm

31.
Electronic dance music
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Electronic dance music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix, EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. In the United Kingdom and in continental Europe, EDM is more commonly called dance music or simply dance. In the late 1980s and early 1990s, following the emergence of raving, pirate radio, at this time a perceived association between EDM and drug culture led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. By the early 2010s the term dance music and the initialism EDM was being pushed by the US music industry. Early examples of dance music include the disco music of Giorgio Moroder. During the early 1980s, the popularity of disco music declined in the United States, abandoned by major US record labels. European disco continued evolving within the mainstream pop music scene. European acts Silver Convention, Love and Kisses, Munich Machine, and American acts Donna Summer, in 1977, Giorgio Moroder and Pete Bellotte produced I Feel Love for Donna Summer. It became the first well-known disco hit to have a completely synthesised backing track, other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music to provide alternatives to the four on the floor style that dominated. The sound that originated from P-Funk the electronic side of disco, dub music. Much of the music produced during this time was, like disco, at this time creative control started shifting to independent record companies, less established producers, and club DJs. Other dance styles that began to become popular during the era include dance-pop, boogie, electro, Italo disco, house. In the early 1980s, electro emerged as a fusion of funk, also called electro-boogie, but later shortened to electro, cited pioneers include Zapp, D. Train, Sinnamon. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, as the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980-1981, the 1982 track Planet Rock by Afrikaa Bambaataa, and the 1982 song Sexual Healing by Marvin Gaye. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal Planet Rock which was influenced by the Yellow Magic Orchestra using Kraftwerk samples, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak

In music, groove is the sense of propulsive rhythmic "feel" or sense of "swing". In jazz, it can be felt as a …

Funk music such as the type performed by groups like Parliament Funkadelic uses catchy electric bass lines and drum patterns to create a propulsive, emphatic rhythmic "feel" that is often referred to as a "groove".

Benny Goodman, one of the first swing bandleaders to achieve widespread fame

Bassist Rex Brown from the metal band Pantera, a band associated with the "groove metal" scene.